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A new way to understand the human longing for stories, informed by both neuroscience and psychoanalytic theory. In this book, Alistair Fox presents a theory of literary and cinematic representation through the lens of neurological and cognitive science in order to understand the origins of storytelling and our desire for fictional worlds. Fox contends that fiction is deeply shaped by emotions and the human capacity for metaphorical thought. Literary and moving images bridge emotional response with the cognitive side of the brain. In a radical move to link the neurosciences with psychoanalysis, Fox foregrounds the interpretive experience as a way to reach personal emotional equilibrium by working through autobiographical issues within a fictive form.
Meaning is one of our most central and most ubiquitous concepts. Anything at all may, in suitable contexts, have meaning ascribed to it. In this wide-ranging book, David Cooper departs from the usual focus on linguistic meaning to discuss how works of art, ceremony, social action, bodily gesture, and the purpose of life can all be meaningful. He argues that the notion of meaning is best approached by considering what we accept as explanations of meaning in everyday practice and shows that in these situations we are explaining the appropriate fit of an item - whether a word or an artwork - with something larger than or outside of itself. This fuller account of meaning explores questions of the meaning of meaning and tackles issues such as whether meaning is just a misleading 'folk' term for something more basic, whether there really is meaning at all, and whether we should strive for meaning or let our lives 'just be' rather than mean. By taking the problem of meaning out of the technical philosophy of language and providing a more general account, Cooper is able to offer new insights into the import, function, and status of meaning that will be of interest not only to philosophers of language but to students and philosophers working in areas such as epistemology and metaphysics.
What is the body? How was it culturally constructed, conceived, and cultivated before and after the advent of rationalism and modern science? This interdisciplinary study elaborates a cultural genealogy of the body and its legacies to modernity by tracing its crucial redefinition from a live anatomical entity to disembodied, mechanical and virtual analogs. The study ranges from Baroque, pre-Cartesian interpretations of body and embodiment, to the Cartesian elaboration of ontological difference and mind-body dualism, and it concludes with the parodic and violent aftermath of this legacy to the French Enlightenment. It engages work by philosophical authors such as Montaigne, Descartes and La Mettrie, as well as literary works by d'Urfé, Corneille and the Marquis de Sade. The examination of sexuality and the emergence of sexual difference as a dominant mode of embodiment are central to the book's overall design. The work is informed by philosophical accounts of the body (Nietzsche, Foucault, Merleau-Ponty), by feminist theory (Butler, Irigaray, Bordo), as well as by literary and cultural historians (Scarry, Stewart, Bynum, etc.) and historians of science (Canguilhem, Pagel, and Temkin), among others. It will appeal to scholars of literature, philosophy, French studies, critical theory, feminist theory, cultural historians and historians of science and technology. Dalia Judovitz is Professor of French, Emory University. She is also author of Unpacking Duchamp: Art in Transit and Subjectivity and Representation in Decartes: The Origins of Modernity.
Literacy teaching tends to take a structural approach to language, focusing on auditory products or skills such as sounds, morphemes, words, sentences, and vocabulary. However, new research suggests that the majority of English speakers actually think and learn in visual concepts, and that there is a cultural and linguistic mismatch between auditory teaching methods and the way students think and learn. This has important implications for all educators including those who work with students with neurogenic disabilities, such as autism spectrum disorders and ADHD. In her new book, Dr. Ellyn Lucas Arwood outlines a revolutionary four-tiered model of how a learner acquires language, and suggests ways to impose visual language functions onto an auditory language like English in order to improve learning for both neurotypical learners and those with neurogenic disabilities. Dr. Arwood provides tried-and-tested intervention strategies that work with all levels of ability, giving readers the knowledge and confidence to teach learners to become more literate in a way that raises learners' abilities to think and problem solve. This book takes a fresh look at how language and literacy interact, and will be of interest to educators and special educators, speech and language pathologists, and other professionals who support language learning and development.
It is neither far-fetched nor over-modest to assume that some readers will feel that another book on philosophical analysis is superfluous, seeing that there are at present a number of fine books, essays or col lections of essays on the subject. Part of the reason which makes me hope that the present book is not superfluous is that its aim is different from that of many of these books or essays. What I myself have at tempted to do is to outline my own views regarding the nature and possible types and forms of philosophical analysis: the result of sustained reflection on the subject for the past few years. The methods of analy sis that are here regarded as "proper," and in a greater or lesser degree philosophically useful methods are not, in their general features, really anything new. They are advocated or are actually being practised by different contemporary philosophers; and some of them have a long and hallowed history behind them. However, the present work attempts to present these methods in a form or manner which, it is hoped, will make them acceptable, or less inacceptable, to philosophers with widely-divergent attitudes or biases. An important feature of the book is that no one method or type of method is regarded as the proper method or type of method of philosophical analysis to the exclusion of others; in sharp contrast to the views or practice of a considerable number of contemporary philosophers.
In this book, Heather McAlpine argues that emblematic strategies play a more central role in Pre-Raphaelite poetics than has been acknowledged, and that reading Pre-Raphaelite works with an awareness of these strategies permits a new understanding of the movement’s engagements with ontology, religion, representation, and politics. The emblem is a discursive practice that promises to stabilize language in the face of doubt, making it especially interesting as a site of conflicting responses to Victorian crises of representation. Through analyses of works by the Pre-Raphaelite Brotherhood, Christina Rossetti, Dante Gabriel Rossetti, Gerard Manley Hopkins, A.C. Swinburne, and William Morris, Emblematic Strategies examines the Pre-Raphaelite movement’s common goal of conveying “truth” while highlighting differences in its adherents’ approaches to that task.
A novel art history of England told through the artworks on display in domestic space over hundreds of years. The Private Lives of Pictures offers a new history of British art, seen from the perspective of the home. Focusing on the nineteenth and early-twentieth-century, the book takes the reader on a tour of an imaginary Victorian or Edwardian house, stopping in each room to look at the pictures on the walls. Nicholas Tromans opens up the intimate history of art in everyday life as he examines a diverse array of issues, including how pictures were chosen for each room, how they were displayed, and what role they played in interior design. Superbly illustrated, The Private Lives of Pictures will appeal to readers interested in both art and social history, as well as the history of interiors.
First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
Sets out to reconstruct and analyze the rationality of Phineas Fletcher's use of figurality in The Purple Island (1633) - a poetic allegory of human anatomy. This book demonstrates that the analogies and metaphors of literary works share coherence and consistency with anatomy textbooks.